Washington, DC Art News

Art news, information, gallery openings, commentary, criticism, happenings, opportunities, and everything associated with helping to spread the word about the visual arts scene in and all around the great metropolitan capital of the United States of America.

Wednesday, November 30, 2005

Whitney Biennial List

According to their press release, the 2006 Biennial is the "signature survey measuring the mood of contemporary American art." It is however, loaded with European artists.

I have been sort of having an artist's block lately when it comes to my own drawings, which is a bad thing, since I have a show opening December 16 at Fraser Gallery Georgetown.

I'd like to have about 25 new drawings, and so far... ahhh...

So whenever I am stuck, one of the subjects that I tend to return to are the recurring images in my artwork, such as images of Frida Kahlo, which I have been drawing, painting and sculpting since 1977, when I first saw her amazing work, or Che Guevara, whose iconic face and figure keeps reappearing in my art throughout the years.

Or in this case, the image of John The Baptist. The below piece is a new drawing (charcoal on 300 weight paper, about 3 x 9 inches):

New Contemporary Gallery in Denver, Colorado is now accepting submissions for its 2006 exhibition schedule. Open to national artists with an emphasis on contemporary works. Email inquiries to Remmifineart@aol.com or please send resume, bio, SASE and 15 images of work on slides or CD to:Remmi Fine Art776 Santa Fe Dr.Denver, CO 80204 Deadline: January 27, 2006

The Second Chance Foundation Gallery is located on Martha's Vineyard, and they are accepting artist submissions for exhibition opportunities. Qualifications: emerging and professional artists with regional/national experience and exposure. Note: only submissions with a bio, resume and a minimum of five color slides will be considered. Send SASE to:The Second Chance Foundationc/o Artist SubmissionP.O. Box 727Vineyard Haven, MA 02568

Vlogging (aka video podcasting) should be of interest not only to video artists but to all artists and art venues in general. The key event that has made posting video so attractive is that there are now several sites that will host your video for free. This eliminates worries regarding bandwidth issues. If you're interested check out FreeVlog. It is a very well done guide to vlogging.

And I agree with Rob Parrish in that Vlogging has some potential for artist self-promotion, especially since it can be done for free!

Anyway... Vlogs are essentially blogs that have video content in addition to text. And like podcasts, you can subscribe to a vlog and have the videos downloaded to your computer via iTunes or via specialty vlog aggregators (Check out MeFeedia.com and also GetFireAnt.com).

Mefeedia has some interesting tools to search for vlogs. FireAnt comes with about thirty or so vlogs pre-loaded.

Another fun way to find vlogs, if you've got some time on your hands, is to go to vlogmap.org. There you will find a satellite picture of the world via Google Earth. On the picture are flags, and each flag represents a vlog's physical location and contains a link to the vlog. So, you can trot around the world checking out vlogs.

Soon, perhaps we will have all of our artists discussing their shows through an online video, and perhaps even sooner, we'll have online art bloggers doing our art criticism thing through a terrific marriage of words and video and imagery.

Can anyone else hear the end of the printed newspaper creep a little closer?

Kriston has been keeping all of us in check about announcing Eye Level, the new art blog by the Smithsonian, but today it's official!

So what's this new important art blog about?

Here's the short version: Eye Level investigates American art—its history, evolution, and currents. The hope is that this blog hosts a vital conversation among artists, curators, collectors, and enthusiasts on a broad range of subjects related to American art. It's the kind of conversation you have in a museum—that unique social space that a museum provides—that Eye Level would like to bring to the blogosphere.

First Fridays: With 21 member galleries and art venues, the Dupont Circle galleries has the largest number of galleries roughly concentrated around the Dupont Circle area of DC. Many of these galleries host openings and extended hours (generally 6-8PM) on the First Friday of each month.

Second Thursdays:Seven galleries in and around King Street in Old Town Alexandria host openings and extended hours on the Second Thursday of each month. Other galleries in the area, as well as the 83 artists studios inside the Torpedo Factory host different openings ad hoc.

Third Thursdays: A handful of art galleries and venues are within walking distance of each other around the 7th Street, NW corridor and still host (I think) joint 3rd Thursday extended hours and openings.

Third Fridays:The five galleries inside the Canal Square (31st and M Street, NW in Georgetown) host joint openings or extended hours from 6-9PM each and every 3rd Friday of the month. The other half dozen or so Georgetown galleries within walking distance host their openings ad hoc.

14th Street: Initially anchored by Fusebox Gallery, a handful of very good art galleries and art venues now congregate around the 14th Street, NW area and host openings at various times throughout the month.

Saturday, November 26, 2005

Georgetown Openings

Next Friday, December 2, from 6-8PM, two of the Canal Square galleries are having openings from 6-8PM.

On the second floor, the Anne C. Fisher Gallery hosts a reception in honor of their well-received, current exhibition, South American Holiday. This lively exhibition by several South American artists is a feast for the eyes! It includes mixed media collages by Joan Belmar, paintings in acrylic on canvas and acrylic on paper by Patricia Secco, and monoprints, hanging paper constructions and the video Zapatos Blancos by artist Helga Thomson.

The Smithsonian American Art Museum has awarded the 2005 Charles C. Eldredge Prize for Distinguished Scholarship in American Art to Elizabeth Johns, professor emerita of the history of art at the University of Pennsylvania.

Her recent book, Winslow Homer: The Nature of Observation, is recognized for its complex and sympathetic portrait of the artist. She has written several influential books on American art, and curated a number of exhibitions.

Johns will be giving a lecture on Thursday, December 8 starting at 3:30 p.m. with a reception to follow.

Friday, November 25, 2005

Gallery Talk

This Saturday, Nov. 26th at 1 pm Tim Tate will be giving a gallery talk about his new work at our Fraser Gallery in Bethesda. Plenty of validated parking underneath the gallery, and one block north of the Bethesda Metro stop on the red line.

Thursday, November 24, 2005

Last March, I asked everyone to write their congressperson in support of H.R. 1120 "ARTISTS' CONTRIBUTION TO AMERICAN HERITAGE ACT" Introduced by Congressmen Jim Ramstad (R-MN) and Ben Cardin (D-MD) and Senate Bill S. 372 "ARTIST-MUSEUM PARTNERSHIP ACT" Introduced by Senators Patrick Leahy (D-VT) and Robert Bennett (R-UT).

The artists' bill is making it possible once again for artists to receive a fair market value deduction for donated works and has been making its way through the legislative process. The bills had been reintroduced in both the House and the Senate and the wording of the bill was approved Friday as an amendment to a broader $59.6 billion tax relief bill passed by the Senate.

It now goes to a House-Senate conference committee. Unfortunately, the House version of the tax relief bill does not currently include the arts provision, but the senators who introduced the amendment - Charlie Schumer, Democrat of New York, and Pete Domenici, Republican from New Mexico, both have apparently stated that they are hopeful that the House committee would support it.

So... contact your House Representative ASAP! If you do not know how to contact your legislator, visit this website. A sample letter is available here.

Currently, when an artist donates a work of art, the artist can deduct the cost of the materials; however, if anyone else (but the artist) donates the work, they can deduct the actual fair market value of the work. This law would allow the artist to deduct the fair appraised value of the donated work, if donated within a certain period of time.

In his third solo exhibit at Fraser Gallery in Bethesda, artist Tim Tate shows new work with exciting explorations of subject matter and materials. "Caged by History" is tightly themed with a marked unity of form and content. The show’s title refers to the myriad ways our histories direct our futures, the carrying of memory and the persistent effects of choices and events of the past.

Tate’s work also references the great unseen forces of nature that inexorably shape and direct our lives. The latter is especially well represented in works that include iron filings held captive by earth magnets. A fine example is the formally elegant "Sacred Cone of Magnetism," with its echoing shapes and etched formulas for magnetic forces.

The brilliance of Tate’s work is in the way it fuses expression of ideas such as these with a deeply personal iconography about taking control of fate, healing and the will to live. "Positive Reliquaries, No. 1-3" are three blown-glass spheres topped with large red cast-glass crosses. They are also plus signs. Inside each is a cast glass nest, each with three spotted glass eggs. All around the exterior of the spheres the artist has etched a handwritten narrative relating his reaction to being diagnosed HIV-positive 20 years ago, and of the process this fact provoked. It was then that he decided to become an artist and then that the whole array of life affirming, healing imagery he uses began to come into focus.

Much of this imagery has a distinctly Catholic feeling. For example, the spheres topped by crosses unavoidably look like the orbs often held by Christ in medieval and renaissance art. The hot-glass flaming hearts – here in strong reds and blues, traditionally colors of divine and human love — are distinctly reminiscent of votive objects. Nevertheless, these works have a fascinating polyvalence, a sense of layered history that draws the viewer close and rewards attention with a rich variety of allusive meaning.

Tate has long used steel as a corollary to fragile glass in his work, which also frequently contains found objects. Recently, he has experimented with concrete as a sculptural medium with varied results. One of the most powerful works in this exhibit, however, is "Heart of St. Sebastian," a concrete heart with a neck, like a vessel, topped with a dark red cast-glass flame. By shaking the concrete in the rubber mold, Tate caused a skin to separate from the heart form into which he has cut a large plus sign — an equal armed cross. In the neck is a tiny biohazard symbol. The work explores a number of iconographies including an identification with St. Sebastian, martyred by arrows, and the sense of being targeted as a biohazard when one is HIV-positive. A consciousness of death produces no pathos here, rather life-affirming strength, hard and resistant as the Sacrete Concrete mix with which the work is made.

Tate will be discussing his work at an artist's talk at Fraser Gallery Bethesda this coming Saturday, November 26, starting at 1PM.

Support from artists and art donors is integral in making this night a success and that is why they are asking for your help. They welcome a variety of art donations–from original and limited edition paintings and prints, to photographs, glasswork, jewelry and sculpture.

The deadline for the inaugural Bethesda Painting Awards is rapidly approaching, and painters from the DC, Maryland and Virginia region have until Tuesday, January 31, 2006 to submit their applications. With $14,000 in cash prizes, this is one of the largest painting awards in the country, thanks to the incredible generosity of Ms. Carol Trawick, who also sponsors The Trawick Prize.

Once the jurors have selected the finalists, we will exhibit them in our Bethesda gallery, where the final four will be awarded $14,000 in cash prizes based on the actual work. $10,000 will be awarded to the top prize winner, $2,000 to the second place winner, $1,000 to the third place winner. Additionally, a "Young Artist" award of $1,000 (artists born after March 11, 1975) will also be given.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. All original 2-D painting including oil, acrylic, watercolor, gouache, encaustic and mixed media will be accepted. The maximum dimension should not exceed 60 inches in width. No reproductions. Artwork must have been completed within the last two years and must be available for the duration of the exhibition. Each artist must submit five slides, application and a non-refundable entry fee of $25. Submissions must be received by January 31, 2006. To request an application, please send a self-addressed stamped envelope to:

I walked through Warehouse Gallery a couple of Sundays ago to look through "Hey, is that a boy or a girl?" Artists look at gender, an exhibition curated by Ruth Trevarrow and Richard Kightlinger featuring a variety of artists looking at the way that we are all looked at by each other.

Perhaps the most interesting piece in the entire show was the curator's (Ruth Trevarrow) own fascinating "Boy or Girl," which is an interactive piece that details about forty faces or parts of faces in a portrait grid on the cafe gallery's main floor. The idea is to study the faces and then (using a printed form that comes with the piece), to take a "test" to see who you think is a boy or a girl.

After taking the test, to my surprise I had at least ten of them wrong! I really like art that delivers not only visual pleasure, but also educates us or reveals a little about ourselves or our world.

I also found Kelley A. Donelly's "Skin Deep" to be quite engrossing. It is a painting full of controlled rage highlighted by a frenetic brushstroke that reminds me of the potential danger of barbed wire and anger mixed together.

On the top floor gallery, Abby Freeman's "Hell # 3" deliver three interesting panels completely woven and made from thousands of matches sewn together. Freeman adds this interesting work to the ever-growing canon of DC artists working art from disposable materials or easily accessible materials; anything and everything can be art.

A couple of paintings nearby the incediary tapestry stand out: one is Isabel Bigelow's "Birthday," a gorgeous dark painting floating up from a dark palette, but whose relationship to the theme escapes me. More in tune with the show was Scott Brooks' "The Resurrection of Miss Rita Fyne," as was a clever sculpture titled "Inter-Sexed Valet" by Ruth Trevarrow.

Photography is best represented by an odd piece by John Borstel titled "Stillborn" that features a somewhat spooky (and oddly attractive) figure hugging a tombstone. Somewhere there's an X-file about this subject.

"Paper Roses" features what we used to call in Art School "fanny prints," cleverly created in this show by Matthew Rose as portraits of an amazingly diverse set of tushes and vaginas from the art and entertainment world. If you want to know how Rose visualizes Thelma Houston, Camille Paglia, and others' bottoms, then this is your destination.

Finally, Allison Miner has a series of nice drawings from a series titled "They told me to work bigger" that steal this show and are a steal at $400 each. Collectors of DC area artists have an excellent opportunity to add a really nice Miner to their collection. Go get one!

"leading book title devoted to showcasing the finest character creations from digital artists worldwide. Exotique presents 228 examples of exceptional character artwork by 113 artists from 37 countries presented over 192 pages of the highest quality production. In addition to exhilarating character artwork, Exotique features the profiles of eight prominent character artists working within the digital arts community.

By the time that you add up all the independent commercial fine arts galleries, all the non profit art galleries and spaces, all the cultural art centers, all the alternative art venues and (what most people usually forget about) all the embassy galleries, our area's gallery scene is one of the largest concentrations of art galleries in the nation, especially for our relative small geographical size, with over 200 visual art spaces distributed all over the Greater Washington, DC region.

That's more galleries than any other major metropolitan area in the United States other than perhaps New York, LA and the Bay area.

Downtown Bethesda will host the Third Annual Bethesda Fine Arts Festival. The Bethesda Arts & Entertainment District announces the third annual Bethesda Fine Arts Festival, a two-day event showcasing 130 contemporary artists who will sell their original fine art and fine crafts on the closed streets of Bethesda. The festival, scheduled for Sat., May 13 and Sun., May 14, 2006, will be held in downtown Bethesda's Woodmont Triangle along Norfolk and Auburn Avenues. Last year about 30,000 people attended the event and sales were quite brisk, including one sculptor who was across from me and who sold out on the first day.

Local, regional and national artists are encouraged to apply. All original fine art and fine crafts, including but not limited to painting, sculpture, photography, jewelry, and furniture are eligible. Applicants must submit a completed application form, non-refundable $25 application fee, five slides of their work and one slide of their booth display.

Selected artists must supply their own tent and display. Artists will be juried and selected by the Bethesda Arts & Entertainment District advisory committee. Participating artists are eligible to win more than $2,000 in prize money, including a $1,000 prize for best in show. A three-member panel of jurors will select award winners from an on-site evaluation during the festival.

Wednesday, November 16, 2005

The Bethesda Art Walk takes place on the second Friday of every month and features 12 downtown Bethesda galleries and studios that open their doors from 6-9 pm. Tour guides will lead a group to seven participating galleries, speak about the galleries' current exhibitions, and introduce the gallery directors.

Tour guides must visit each gallery before the Art Walk and view current shows. Tour guides will receive a stipend. Please contact Heather Blum at 301/215-6660, Ext. 17 or hblum@bethesda.org.

The Museum of the Living Artist is holding its premier international digital fine art exhibition. This exhibition is sponsored by SONY with cash awards totalling $6,000.

The gallery space is 10,000 sq.ft. and is located in the heart of Balboa Park, San Diego. I am very familiar with the area, which attracts more than 12 million visitors annually. While the contest requires online submission, the actual show will consist of prints up to 8ft by 8ft.

The juror is Marilyn Kushner, Curator of Prints and Drawings at the Brooklyn Museum since 1994.

To Jiha Moon, who has been invited to exhibit next September in an important exhibition of contemporary Asian artists at the Asia Society and Museum in New York. The exhibition will be curated by Dr. Melissa Chiu, Director of the Museum.

The below is from a couple of years ago, but recently someone asked me about it, so here it is again:One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art.

Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: "Do you like it?""Yeah, I like it- it's just what we've been looking for.""Where would we put it?""We have a couple of spots that it'd fit.""Do you really like it.""Yeah, how about you?""Yeah, I kinda of like it.""Should we get it?""If you want it."(five minutes later)"Let's think about it.""OK" [To me] "Do you have a business card?"

The couple (not married):Her: "Do you like it?"Him: "Sssoright"Her: "Where would we put it?"Him: "Dunno."Her: "Do you really like it."Him: "So'OK.. Yeah, how about you?"Her: "Yeah, I kinda, sorta, really like it."Him: "Dunno though"Her: "What? You don't like it?"Him: "If you want it."(five minutes later)Him: "Let's think about it."Her or Him: "OK" [To me] "Do you have a business card?"

The Single Woman (SW) with a Woman Friend:SW: "WOW! Now, I really like this!"Friend: "Yeah... it's nice"SW: "It's exactly what I've been looking for!"Friend: "I have a friend who does work just like this..."SW: "I am really drawn to it!"Friend: "Are you really sure you like it?"SW: "Uh - yeah!... why? Don't you like it?"Friend: "Yeah... it's OK"SW: "I think it's really good... I think it's the first piece in this whole show that I really like."Friend: "There's a few more booths we haven't seen."SW: "I think I'm going to buy this."Friend: "Are you sure?"SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"(five minutes later)SW: "Do you have a business card?"

The Single Woman (SW) with a Man Friend:SW: "WOW! Now, I really like this!"Friend: "Yeah... Cool"SW: "It's exactly what I've been looking for!"Friend: "I think it's a lithograph" [it's actually a charcoal]SW: "I am really drawn to it!"Friend: "Are you really sure you like it?"SW: "Uh - yeah!... why? Don't you like it?"Friend: "I have something like it... I got it cheaper though..."SW: "I think it's really good... I think it's the first piece in this whole show that I really like."Friend: "You like lithographs?"SW: "I think I'm going to buy this."Friend: "Are you sure?"SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"(five minutes later)SW: "Do you have a business card?"

The Single Focus Dream Buyer:[Walks straight up to one piece, never looks at the rest of the work in your booth]"I'll take this"[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?""Charge"[Me] "I can send you more information on this artist...""That will be great - I love this work - it's exactly what I'm interested in!"[Me] "I have a few more pieces here, would you like to see them?""No, thanks..."

The "I Shudda Bought It Last Year Guy (Shudda)":Shudda: "Hey! You're here again!"[Me]: "Hi, how are you? Yeah... It's our 7th year here..."Shudda: "... been walking this whole fair looking for you!"[Me]: "Yeah... lots of dealers this year... glad you found us!"Shudda: "Howsa been goin'?"[Me]: "Yes... quite good actually..."Shudda: "Well, let me look at what you've got!"[three minutes later]Shudda: "Where's that really good watercolor of the fill-in-the-blank?"[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."Shudda: "Ah! - I really wanted that one! Do you have another one?"[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"Shudda: "I really wanted that piece; and it was a good price too..."[Me]: "Maybe you'd like some of his new work..."Shudda: "I shudda bought it last year"[Walks away]Shudda: "You gonna be here next year?"

The "Where's That Piece Guy (WTP)":WTP: "Hey! You're here again!"[Me]: "Hi, how are you? Yeah... It's our 7th year here..."WTP: "... been walking this whole fair specifically looking for you!"[Me]: "Yeah... lots of dealers this year... glad you found us!"WTP: "Howsa been goin'?"[Me]: "Yes... quite good actually..."WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! "[Me]: "Yeah... that is a nice piece."WTP: "I've been thinking about it for a whole year"[Looks around the booth and doesn't see it]WTP: "Do you still have it?"[From here there are two paths...]Path One -[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."WTP: "Ah! - I really wanted that one! Do you have another one?"[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"WTP: "I really wanted that piece; and it was a good price too..."[Me]: "Maybe you'd like some of his new work..."WTP: "I shudda bought it last year"[Walks away]WTP: "You gonna be here next year?"Path Two[Me]: "Let me get it for you... I have it in the back!"WTP: "Great"[I bring it out and give to WTP]WTP: "Yeah this is it! It's great!"[Me]: "This artist has done really well this last year and ---"WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?"

And just when some of you and Blake thought that the ancient medium had nothing left to give, along comes Arlington-based Scott Hutchison and delivers something so "new" that I am sure that were Scott showing in NYC or LA, curators from the Corcoran or the Hirshhorn would be descending on this show like bugs on your porch light (the last time Scott showed with us, he created something of a controversy because of this).

Typical video art: Film something boring, or something artsy, or something sexy, or an old classic movie a frame-at-a-time, and then sell photographic stills from the video.

The new videopainting: Spend months and months creating a set of small paintings; superbly painted works, each and every one of them, and then marry then (through technology and video) into a singularly unique and new idea: like this one.

Click here or here if you want to see what one of the future(s) of painting looks like.

On Thursday, November 17, Susan Calloway Fine Arts has Alison Hall Cooley: Recent Works – Abstract Oil Paintings opening from 5-8PM. Cooley has exhibited in Washington, DC, Virginia, and Massachusetts. She is the winner of several awards, including the Charles C. McDougall Award for Promising New Artist. Cooley attended the Corcoran School of Art in Washington, DC, and Sarah Lawrence University.

Artists are invited to donate original work in any medium in a 6 x 9 postcard format to be sold for the affordable price of $50. All artists names will be published at the time of the exhibition but the works will be displayed anonymously and the identity of the artist will only be revealed to the purchaser after the completion of the sale.

The event is organized for the sole benefit of the prestigious Master of Fine Arts in Visual Arts (MFA) program at Florida International University, Miami. In its remarkably successful 2004 inaugural edition, which took place at the Ritz Carlton South Beach, over 1000 artworks by more than 500 artists and celebrities from art related fields were featured and over $20,000 was raised for the MFA program.

It's so easy to participate! Just download the Entry Form and the Artist Info Form from this website.

Monday, November 14, 2005

Coordinate and implement promotion of Bedford Gallery exhibitions; plan and present events and arts education programs. Supervise volunteers. Requires: Bachelors and/or Masters of Art or fine arts, and 2 to 3 years direct experience. City application required, apply by 11/18/05. For more information and a city application go to: www.walnut-creek.org.

Saturday, November 12, 2005

A while back I met a very talented lady, who has not only an important history as one of our area's top potters and ceramic wizards, but is also an amazing kayaker.

And slowly but surely she has taught herself a separate wizardry: digital manipulations of her own nascient photography.

If you want to see how an artistic vein can course through many different genres, don't miss Ursy Potter's exhibition at the Unitarian Universalist Congregation Fairfax 2709 Hunter Mill Road, Oakton, Virginia and on the phone at (703) 281-4230. The reception is Sunday, November 13 from 12:30-3PM.

This show brings together three figurative artists living and working in DC. Each approaches their work in a unique style from a different point of view, with equally distinct results:

- Dana Ellyn Kauffman is a full time painter, living and working in Washington, DC. and we last saw her work at Art-O-Matic... she's a narrative painter whose works usually tell a story and have powerful visual meaning, and sometimes the message may come as a shock... don’t let her pigtails fool you.

- Gregory Ferrand, a Washington, DC artist, is a graduate of Virginia Commonwealth University’s School of the Arts. After living in Buenos Aires, Argentina for two years and traveling through Latin America, he began to paint in earnest. His paintings and drawings for this show deal with emotional, physical, and societal insecurities.

- Scott G. Brooks is originally from Flint, Michigan, and graduated from the University of Michigan with a Bachelor of Fine Arts degree. He moved to the D.C. area in 1990 and currently lives and works in the U Street corridor. His work has been exhibited in New York, Los Angeles, and many venues in the D.C. area, including the recent "Jumping Through Hoops" at Gallery Neptune, the WPA/Corcoran show "Seven,""Drawing National 2" at Montgomery College, and the last three Artomatic exhibitions. Scott has also illustrated two children’s books: The Three Armadillies Tuff, and The Ring Bear. For "Threesome," Scott focused purely on the figure, creating six new paintings based on models that he has worked with recently.

If you only come to see one of our shows this year, come see this one, and see what develops when the power of narrative art is brought, for the first time, to the genre once segregated to the craft side of the arts and focused only to the vessel.

Next Thursday, November 17, from 7-9 pm, join the Arlington Arts Center for an evening of challenging definitions and preserving traditions as four leading artists and curators from the Washington, D.C. area discuss trends in contemporary drawing.

The latest AAC exhibition Drawing: Tradition & Innovation opens on November 15 and features diverse work by 21 artists from the Mid-Atlantic region. The roundtable is free of charge and open to the public.

Panelists are:

Margaret Boozer - Ms. Boozer is a contemporary sculptor whose work in clay exploits the natural occurrence of line as the material hardens. Her work is included in the collection of the Renwick Gallery of the Smithsonian American Art Museum and in many private collections. She was also an exhibiting artist in Seven. She is the director of Red Dirt Studio in Mt. Rainier, MD, and has been a visiting artist and lecturer at local and national institutions.

Richard Dana - Mr. Dana has exhibited his art extensively regionally, nationally and internationally. He has had over 16 solo exhibitions and participated in over 65 group exhibitions. Most recently, he has shown his work at the Pretoria Museum of Art in South Africa in June and at Tribes Gallery in New York in October and locally in Seven. Mr. Dana is a participating artist in Drawing: Tradition and Innovation.

Janis Goodman - Ms. Goodman is an Associate Professor at the Corcoran College of Art. She has received an NEA support grant and DC Commission on the Arts grants to individual artists. Her own work is deeply rooted in the traditions and extensions of the drawing process. For the past three years she has been a visual arts reviewer for WETA’s TV program Around Town,

Karey Kessler - A Washington, D.C. based artist, Ms. Kessler uses the tradition of mapping to underscore the organizing principles of line. Though based on the science of topography, her intimate drawings depict imagined, dream-like locales. Her work has been exhibited throughout the United States. She currently serves as Gallery Manager at the District of Columbia Arts Center (DCAC), and independently curates in the region regularly.

The evening, part of the AAC's Bridges to Contemporary Arts series, will be moderated by AAC Curator, Carol Lukitsch. For more information, contact AAC via email at info@arlingtonartscenter.org or by phone at 703.248.6800.

The theme of the forum, "Cultural Policy at the Grassroots: The State of the Cultural Community in Montgomery County," will revisit the County Cultural Plan, now five years in action and focus on three primary issues: (1) individual artists and scholars, (2) partnerships, and (3) ethnic diversity.

The purpose of the forum is to discuss these issues with outside experts and move to a consensus on future action steps for the County. Local cultural leaders as well as speakers from outside of the Washington region will participate in moderated panel discussions. This event is a part of a series of cultural policy forums being held in the Washington region.

The forum is free and open to the public, however, seating is limited. For more information about this event or to RSVP, please contact Susie Leong at sleong@culturalpolicy.org.

The Arlington Arts Center, a leading contemporary visual arts center located in Arlington, VA, is seeking a part time administrative coordinator. Responsibilities include maintaining database, keeping membership records, coordinating class registration, and organizing exhibition materials and artist applications. This position involves regular public interaction in person and on the phone.

An ideal candidate will be well-organized with an ability to work on different projects simultaneously. A working knowledge of all Microsoft Office Suite programs is essential (particularly Access and Excel), previous experience/internship in an arts organization desirable.

This is a 20-hour/week hourly position. Schedule is flexible, but some evenings and occasional Saturdays are required. Interested candidates should submit a cover letter and resume via fax to: 703-248-6849 or via e-mail at info@arlingtonartscenter.org. No phone calls, please.

The next Mid City Artists Open Studios will be held this weekend (November 12 and 13). During Open Studios, many artist studios within walking distance of the Dupont/Logan Circles will be open for visitors.

As everyone else knows, Kathryn Cornelius has exhibited extensively in the DC area, (and most recently in NYC), was the subject of a profile in the Washington Post Express while she was sort of a leading arts activist student at Georgetown, and her work was recently acquired by the Heather and Tony Podesta collecting team at Seven.

Could we at least consider her an "emerging artist?" Methinks Kathryn passed this new "barely emerging" stage a while back.

Last night I headed off to the Left Coast again, and I am now looking at the Pacific, but hope to be back in time for Tim Tate's opening of his third solo show with us. The opening is Friday, November 11, 2005 at Fraser Bethesda.

This show comes in the wake of two sold out earlier solo shows in 2003 in Georgetown and 2004 in Bethesda, as well as the immensely successful "Compelled by Content" show that Tate curated for us.

And in my obviously biased opinion, this promises to be the best exhibition yet by one of Washington's best-known artists and a leading and very involved member of our arts community.

Tate has absolutely been driven in creating new work for his show, probably because he's under extreme pressure as he's getting kicked out of the spaces that the Washington Glass School (of which Tate is the co-director) occupies. The School is being kicked out as part of the eminent domain scam that allows the city to kick out the people that they attracted to the neighborhood a few years ago, but that they now need to build a stadium for the Nats.And Tate, who hates being called a "glass artist," nonetheless continues to break new ground (and a lot of glass in the process) by continuing to add and expand a new vocabulary to the glass genre: A vocabulary made of a narrative content that requires an understanding of what the artist wants to express.

In doing so, Tate has absolutely changed and refined his art and vision, a change that was first kindled by the death of his mother, which he expressed by an obsessive desire to create small, beautiful glass hearts, which have nothing to do with religion, but childhood memories of JFK imagery in his home and a receptacle for memory.

In another new series of glass slices that project from the walls, encased in steel, Tate offers us Cryptologic clues to events, influences, social and political statements, as well as the ever-present dialogue about disease and recovery.

Tate, who is HIV-positive, thus continues to incorporate his daily issue with HIV and AIDS into these works, some of which represent his own ideas of surviving the disease. In the wall glass slices, the narrative panels and the reliquaries, are hidden clues and figures that offer a constant desire for a cure that refuses to come into focus.

Don't miss this show. The opening reception is Friday, November 11 from 6-9PM at Fraser Bethesda.

Sunday, November 06, 2005

After finding a sweet Doris Day of a parking spot at 6:15PM in the usually next-to-impossible (to find a parking spot) Dupont Circle area, I visited a few galleries on Friday night.

First on the agenda was Wayne Gonzales at Conner. One can pretty much count on Leigh Conner for two things every month: to have a bright white newly painted space and to have a solid visual art show, with loads of interesting people always hanging about. And Wayne Gonzales did not dissappoint, as his exhibition showcases a few smart, sharp paintings done in the artist's trademark pointillist-like style that's a blend of Seurat, Lichtenstein and Gonzales.

Next we skipped over to Washington Printmakers, where I was not too taken by the current exhibition by Trudi Y. Ludwig. The work, while technically adequate, did not pique my interest for more than a few minutes. It's an otherwise lackluster show in a gallery known to showcase the best printmakers in our area.

Irvine Contemporary Art was the next stop, where I ran into Kristen Hileman from the Hirshhorn, and a pack of recent VCU graduates, including the fair and talented Alessandra Torres, who is currently working out of Brooklyn after her recent graduation from VCU. On exhibit were the elegant mixed media abstractions of Christine Kesler. I also had a chance to meet Irvine's new director, Heather Russell, who's already doing great things for this two-year-old gallery; congratulations to Prof. Irvine on his 2nd anniversary.

I skipped a couple of galleries, as it was getting close to the last half hour or so, and headed directly to JET, where I discovered that Mr. Capps was quite on mark with his assessment of Peregrine Honig's Washington, DC debut: it ended up being the best show that I saw all night; a show titled: Albocracy.

At 29, the California-born artist already boasts an impressive resume, and in her DC debut at JET, was unfortunately (and erroneously) compared in her small WaPo review (scroll down) to the "back to basics" of Marcel Dzama, but with a "femeninist bent." I disagree completely.

In fact, Honig has little, if anything to do with the doodling Canadian artist, other than the fact that she also draws and colors her austere drawings, and that they both live in North America. This talented artist is both original and intelligent in her own work, which in this exhibition aligns with my latest interest: the marriage of art and text.

Honig creates a series of very delicate, sexy, and fragile drawings on paper, using a very sensual line, and sometimes a dab of watercolor. The power of the marriage of words to art come alive as she begings to title them, either in a delicate cursive, tiny writing style, or using an old typewriter to leave behind the nearly forgotten clumsy footprint of the typewriter key.

And she gives us titles like: "Opsomania. Obsession with sweet and delicacies" which depicts a delicate nude wearing nothing but shoes (which introduces an element of erotica into the drawing) and growing candies out of her body, where the sweets double visually as festering boils of gigantic proportions.

There's also Anthophobia (Fear of flowers), Ablutomania (Obsessive cleanliness), Tricophagus (Hair eater) and others in those unusual realms, including Albocracy, from which her exhibition derives its title.

Ms Honig writes:

"Albocracy – imbued with the hope of colorless rule. How quickly it flips, with the blink of one pink eye, to a white ruling class. Purity becomes purification. In the moment in between, there is a pale-skinned pink-eyed fragile beauty. White wig and glove, pearls and lace, a flawless virtue, until she is made to rule."

According to JET, this series of drawings "illustrates the flux of language and art, exploring unusual phobias, manias, and social structures. The drawings case rare fears and sexual obsessions in Honig’s highly stylized figurative work. Her small scale works on paper offer the intimacy of children’s book illustrations with unnerving themes and complex and tragic neuroses."

What Honig has done, and done surperbly well, is to flex intelligent artistic muscles to show us the immense power of art and words to deliver ideas and thoughts and fears and obsessions. And they are not be segregated as femeninist creations just because she's a woman, but artwork, period, because she's a talented and innovative artist, perhaps standing on the shoulders of great artists (certainly not Dzama), but adding to the contemporary dialogue in her own unique voice.

Went out gallery hopping yesterday, as it was the perfect autumn Friday for it, and the Dupont Circle galleries had their usual first Friday gallery openings going on.

The best show that I saw on the night were the terrific drawings by Peregrine Honig at JET Artworks. I will return to this young artist next week if I have time, but let me say right now that her original drawings, going for under $1000 each, are a steal for such a young artist already in the collection of the Whitney and the NMWA. The exhibition runs through Nov. 13, 2005.

Friday, November 04, 2005

One of the paintings in the exhibition is of our own Lida Moser, who posed for Neel four times (one of the portraits is at the Met in NYC), and who traded Neel paintings for slides of Neel's work so that she could send them to NYC galleries as Neel seeked a place to show her work. Apparently Neel was on welfare and traded Moser paintings for the documentation of her work.

Alice Neel and Lida Moser were apparently really close friends and Lida has a million stories about Alice, especially the tremendous resentment that Neel faced once she began to gather some recognition. The resentment came from the then popular male abstract painters who were in vogue, and who resented Alice's success because she was a woman and a representational painter.

The washingtonpost.com is seeking an "Editorial Cartoonist of the Future" with a digital animation competition!

The washingtonpost.com has launched a competition to find digital animators interested in exploring the world of editorial cartooning.

The Editorial Shorts Digital Animation Competition is looking for digital artists and humorists to submit short-form (3 minutes or less) animated commentary focused on current political or topical issues. Entries must be designed, edited or distributed in digital form.

Hal Straus, Opinions editor for washingtonpost.com, said "The Washington Post print edition has a 125 year-old tradition of editorial cartooning that has influenced opinion and covered both the drama and comedy of news and politics. We thought it would be interesting for washingtonpost.com to see who out there is interested in picking up the mantle for the digital age."

The winner of the competition, to be announced in January 2006, will get visibility for his or her entry in a special section Opinions in the washingtonpost.com.

Deadline for entry is December 31, 2005.

Entries will be judged on humor, originality, use of the medium and topical relevance.

Artists, especially emerging artists, should take advantage of this plethora of spaces and try to get their work hung, seen, and maybe even sold.

A good case in point of someone doing this is Baltimore artist Vera Blagev.

She's not having an opening on Friday November 4th from 5:00 to 8:00 pm (exhibiting some of her recent drawings as part of the Dreamers Series) at the Wydeye Cafe located at 1704 Aliceanna Street in the Fell's Point neighborhood of Baltimore. The event is part of the Fell's Point Art Loop on the First Friday of every month when the area's galleries and alternate venues extend their working hours. The exhibit will be up for two weeks ending Friday, November 18th.

But she's also having a joint show at the Hard Bean Coffee & Booksellers in Annapolis, Maryland. The show will be up for approximately one month starting today and features original contemporary drawings by Vera and ceramic masks and sculptures by Tammy Vitali. The Hard Bean is located at 36 Market Place and is reachable by phone at 410-263-8770.

Last month was the 9th anniversary of the opening of our Georgetown gallery (opened in 1996). Back in those days the WaPo actually wrote an article about a new gallery opening, and had two separate columns each Thursday focusing on the area galleries. The WaPo actually even published a separate article a year later on the first anniversary of the gallery's opening! Mmmm... the good ole days...

One of the two Thursday columns was the "Galleries" column, then written by Ferdinand Protzman, and the other was Arts Beat, by Eric Brace and then Michael O'Sullivan. In those years, especially after O'Sullivan took over, Arts Beat was essentially a visual arts review column augmenting "Galleries" coverage.

And so, every Thursday we'd have two separate and distinct gallery art reviews in the Style section. Today, the WaPo has reduced "Galleries" to once every two weeks, and "Arts Beat" has also been reduced to once every two weeks, and now covers all the arts, without a visual arts focus. Like they say: "If you don't get it, you don't get it."

Last month was also the second year anniversary of DC Art News. Those first few months I'd average around forty visitors a day, while we're now well over 700 visitors a day and nearly 900 page views a day, and we passed 200,000 visits quite a while back.

Wednesday, November 02, 2005

Sculpture Unbound: "An exhibition of work stretching the boundaries of the field of sculpture"Edison Place Gallery, 701 8th Street, NW Washington, DC 20001January 9 - April 6, 2006

Juror: Glenn Harper, editor Sculpture magazine.

The competition will be juried from digital images and slides by Glenn Harper, editor of Sculpture.

Work to be considered: Three-dimensional freestanding sculpture, wall and ceiling hung sculpture, installations, and new media. No pedestals will be provided. Gallery has 8 feet high ceilings, loading dock with standard double door to enter the gallery, movable walls and track lighting. All work accepted and exhibited must remain on display for the full duration of the show.

Existing members of either group must have paid their dues for 2006 to be eligible for this exhibition.

Digital Images: Artist must send digital images as an email entry. The artist must include an up to date resume and Image Index including name, address, phone of artist and title, dimensions, materials, date completed and insurance value for no more than 2 entries and no more than a total of 4 images. Each image should be labeled with the artist's last name, first initial and image number 1-4. (WalkerF1, WalkerF2)1.) All images must be saved as Jpegs (.jpg)2.) All images must be saved at 72 dpi 3.) All images must be no larger than 4x5 inches or 800k in size

Mailing address for Digital Entries:dren@corcoran.org

For more info: WPA/CWashington Project for the Arts\Corcoran500 17th St., NWWashington, DC t: 202.639.1828 or f: 202.639.1778 or wpainfo@corcoran.org or www.wpaconline.org

Art Obituaries is an immensely interesting project designed to commemorate "art that was" by documenting accounts of an artwork's death, and thus creating a living discourse where there once was none.

Through an online process on their website, they invite artists to document the untimely or planned death of their work of art, providing a rare glimpse into an artwork's eleventh hour, exploring the nature of an artwork's life, death, and the process in-between. Artists are encouraged to investigate the concept of their artwork's obituary through a written or photo essay, text, image or whatever creative expression that pays proper tribute to their dearly departed.

Rose Folsom’s artwork grows out of her life-long passion for writing and of her years as a professional calligrapher. After years of study in classical western writing, Ms. Folsom began to explore writing as an expressive art: words and moving lines working together to say something new through their shape, movement and color.

Rose Folsom: Written Paintings will be on display at the first floor galleries in Strathmore Mansion on Rockville Pike opening on November 20th from 3-5PM. The show goes through Dec. 30th.

Tuesday, November 01, 2005

"Hey, is that a boy or a girl? - Artists Look at Gender" is a new exhibition opening next Friday, November 4th from 6:00pm-to 10:00pm and on view through Sunday, December 4th, 2005 at the Warehouse Gallery.